Sunday, May 6, 2018

BRAVEHEART: 4K Blu-ray (Paramount, 1995) Paramount Home Video

Were that every historical
epic of the modern age could be as enrapturing as Mel Gibson’sBraveheart(1995); the
multi-Oscar-winning epic that is as intimate and imbued with humanity’s zeal
for tender moments, as much as it thoroughly satisfies in its sprawling
pageantry and blood-soaked staging of hand-to-hand warrior combat. Braveheartarguably hails from the last
golden epoch in picture-making, since to have been thoroughly trampled by our
present obsession with gaudy actioners full of unconvincing CGI effects. I
recall the sweep and spectacle so well of seeing Braveheart projected for the first time in a theater at a time when
film makers were at least marginally sincere in their pursuits to entertain
rather than indoctrinate us with their political correctness. What Gibson’s
movie does spectacularly well is to capture the essence of a moment in time as
it truly (or perhaps, rather unlikely) had once been; director and star, Mel
Gibson, immortalizing this Scottish rebel with impassioned resolve to tell a good
yarn without any illusions of making ‘a political statement’. How I wish
Hollywood would get back to this kind of storytelling. But I digress.

Braveheart remains a master class in movie-making; the battle
sequences, teeming in the full-armored regalia and bleeding tragedy of two
nations coming to their death grips in what would become one of the longest,
most brutal and ultimately, unresolved conflicts in human history.Braveheartis brilliant, chiefly
because of screenwriter, Randall Wallace’s expertise in knowing precisely when
to boggle the mind in staged bouts of blood-spattered conquest, and when to
stagger the heart with equally as riveting sequences devoted to character
development and high-stakes drama. Such quiescent interludes, all but overlooked
by today’s film makers as quaint and inconsequential, herein are generously
endowed with precisely the compassion for William Wallace – the man (or what is
known of him) and, by extension, to all those who stood tall at his side to defy
England for their independence. Braveheartought never to have worked for several reasons – chiefly, since there is
virtually no way around historical inaccuracies, on occasion supplemented by
the director’s impromptu humor and director/star’s overriding vision to embody
as well as embrace the total sum of Will Wallace’s earthy heroism through a
heavy veil of artistic license.

We can forgive
Gibson this, as writer, Randall Wallace knew virtually nothing about William
Wallace when he embarked upon a much-needed vacation to Scotland in the summer
of 1993 – after which he likely understood even less. Yet, Wallace became so
completely engrossed by the legend, the myth and the central narrative of blind
lion-hearted heroism as told by historians and the common folk alike, it compelled
him to seek out the truth beyond the legend. The curiosity for writer Wallace –
as well as the historical record - is the real William Wallace, for all intent
and purposes, no longer existed in any concrete form. The legacy of his crusade
against the English has, in fact, been severely withered with the passage of
time and largely left to the ages as an ancient myth. Following Wallace’s brutal
end, virtually all textual evidence, even to his birth or existence, was
expunged from the historical record, leaving word of mouth as the only
surviving narrative. Scholastic research, written long after the age of Wallace
had passed and the yoke of English resistance loosened, has gone along with
this suppressed absence, running with the objective that if Wallace’s name
appears at all in print it is as an inconsequential footnote to real history, rather
than a chapter, rather insidiously torn asunder from it.

Despite Mel Gibson’s
proven box office cache, the star/director had grave difficulty encouraging any
of the majors to partake in his impassioned indie company production. Warner Bros. tempted Gibson with a blank
check, but only if he agreed to another installment in their lucrative Lethal Weapon franchise which Gibson
rejected outright. Paramount Pictures agreed to a limited distribution deal in
the U.S. and Canada, leaving 2oth Century-Fox as the custodians of Braveheart’s international rights.
Budgeted at $72 million, Braveheart
would gradually emerge as one of the most profitable and lauded screen epics of
its generation; a testament, actually, to Gibson’s resolve in forgoing
Hollywood’s crass commercialism and the studio’s insistence he adhere to the
MPAA ratings system for a broader audience. Braveheart’s bone-breaking battle sequences are nothing if
stomach-churning, polarizing protest groups against such thought-numbing
violence in mainstream movies. And yet,
gratuitousness is not the goal herein. Neither do these viscerally unsettling
sequences make for an ‘unpleasant’ or emotionally thought-numbing exercise, as
quite often excess violence can do – brutalizing the audience to the point
where they no longer can feel even revulsion for the art of war.

But no, Braveheart attacks with such a
groundswell of emotional sadness for the tragedy of all ‘lost causes’ –
particularly once they are truly lost – the catharsis remains as liberating as
it rattles the apocryphal in a sort of cleansing sobriety and humility for the
sanctity of life itself, but particularly, for the heroes, brave enough to test
its boundaries. In this, Braveheart
possesses something of an almost Christ-like complex, Wallace’s hellish
execution at the end, as well as his absolute refusal to bow, even bloodied to
the brink of extinction in the presence of his arch-nemesis, is a moment in
American cinema not easily set aside; indeed, more likely etched into the
collective consciousness as a truly haunting epitaph in our present
understanding of ‘history’ – however misshapen and reprocessed through the
annals of time – nevertheless, oft writ larger than life from the skewed
perspective of the conquerors, without any genuine thought to counterbalance
the query with reflections from the other side.

Six weeks
shooting in Scotland was supplemented by a relocation to Ireland for the major
battle sequences to take advantage of the Irish Army Reserve as extras; granted
immunity by their superior officers from their usual strict regimented
etiquette to grow beards before swapping their modern uniforms for medieval
accoutrements. Further to managing his budget, Gibson employed these same
extras, up to 1,600 in a single shot, to portray both armies. Much has been made of the ‘inconsistent’
handling of Wallace’s charge across the open field to fight the English, begun
in full stride with pickaxe firmly in hand; then, reaching for a sword behind
his back; then, pictured in full marathon sprint with hands pumping in slow-mo
by his side, and, finally, with sword fully raised overhead. But are these
continuity errors, or director, Gibson paying homage to the various
incarnations of Wallace’s gallantry as mythologized through time? In 1995,
audiences did not seem to mind; the picture’s titanic popularity at the box
office (it grossed $210.4 million) and critical plaudits, not to mention its
staggering 10 Oscar-nominations (winning for best makeup, effects,
cinematography, direction and, the most coveted Best Picture of the Year Award)
earning Braveheart its hallowed
place in cinema history. In hindsight, it is rather insulting Randall Wallace’s
screenplay eluded such an honor, instead taken home by Christopher McQuarrie
for The Usual Suspects, and Gibson
(not even nominated as Best Actor), virtually overlooked in favor of Nicholas
Cage in Leaving Las Vegas (in a year
AMPASS also saw fit to nominate Anthony Hopkins for his totally ineffectual
performance in Oliver Stone’s Nixon).

Braveheart begins its narrative fictional/history in 1280 as the
ruthless King Edward ‘Longshanks’ (Patrick McGoohan) of England invades and
conquers Scotland following the death of Alexander III, who left no heir to his
throne. As a boy, William Wallace (James Robinson) witnesses the brutalities of
this bloody war and narrowly survives his father, Malcolm (Sean Lawlor) and
brother, John (Sandy Nelson). Taken abroad on a pilgrimage by his paternal uncle,
Argyle (Brian Cox), the lad is schooled. As Longshanks grants his noblemen land and
privileges in Scotland, including Prima Nocte, the adult Wallace (now played by
Mel Gibson) is reunited with his childhood sweetheart, Murron MacClannough(Mhairi Calvey, as a girl/Catherine McCormack as the
full-bodied woman possessing Wallace’s heart). The two are marry in secret
after Wallace rescues Murron from certain rape by English soldiers. Alas, in
their second attempt, Murron is taken prisoner and later, publicly executed. As
retribution, an embittered Wallace leads his clan onto slaughter of the entire
English garrison in his hometown and then forces the occupying garrison at
Lanark to retreat in wounded defeat back to England.

This change of
dominance in the region is mildly unsettling to Longshanks who orders his son,
Prince Edward (Peter Hanly) to destroy Wallace. Alas, Edward is an ineffectual
leader. Moreover, he has incurred his father’s shame by favoring the comforts
of a male suitor to the imposed marriage of state to Princess Isabelle (Sophie
Marceau). Meanwhile, Wallace once more leads a successful rebellion against the
English – a humiliating defeat for Longshanks. Now, Wallace’s legend spreads
like wildfire across these beleaguered lands. From every corner, hundreds join up
to withstand the English; Wallace, leading his new armies onto victory at the
Battle of Stirling Bridge before decimating the city of York, killing
Longshanks' nephew and sending his severed head back to the King. Wallace seeks
the counsel of Robert the Bruce(Angus McFadyen),
a contender for the Scottish crown. Alas, Robert is dominated by his father, desiring
only to secure the throne by whatever means, even submitting to the English. Sufficiently
concerned, Longshanks sends Isabella, presumably to negotiate terms of a
tenuous peace even as he plots another invasion in Scotland.

Starved for
affections at home, Isabella steadily grows enamored of Wallace. She warns him
of the coming invasion and this affords Wallace the upper hand in planning his
counteroffensive. Confronting Longshanks at Falkirk, Wallace is nevertheless
betrayed by his own people, Lochlan (John Murtagh) and Mornay(Alun Armstrong) and the battle is lost with grave casualties. As Wallace
valiantly charges the departing Longshanks he is intercepted by Robert the
Bruce, a turncoat lancer for the King. Consumed by his shame, Bruce hurries
Wallace to safety. Shortly thereafter, Wallace avenges this betrayal, murdering
both Lochlan and Mornay. Now, he reigns
down fire on the English – a seven-year entrenchment into the bloodiest warfare
yet, secretly assisted by Isabella with whom he has an affair. As Wallace’s
most ardent loyalist, Robert proposes a détente to discuss their terms for
peace with the English in Edinburgh. Once again, Robert’s father conspires to hand
over Wallace to the other side. Unearthing this treachery, Robert disowns his
father. Having endured years of loveless exile from her effete husband,
Isabella now exacts her revenge on Longshanks, who is terminally ill, informing
him she is destined to procure Wallace’s bloodline on the English throne, as
the child she is carrying is his, not the Prince’s.

In London,
Wallace is brought before an English magistrate(Malcolm Tierney),
tried and condemned without much effort for high treason. However, as his
sentence of public torture and beheading is carried out, Wallace continues to
defy his captors, refusing to offer satisfaction in his surrender, even as he
is repeatedly hanged to the brink of asphyxiation, drawn and quartered. The
tide of the gathered crowd’s sympathies dramatically shifts toward mercy and
admiration for this Scotsman’s valor. Very reluctantly, the magistrate presents
Wallace with a penultimate opportunity to repent for his sins against the
Crown. If he utters ‘mercy’ he will be
granted an expedient death. Instead, Wallace, gravely depleted, rears his head
in one last act of defiance, shouting for all to hear the word ‘freedom’ issuing
from his lips. For this, Wallace is decapitated; his reprieve, a fleeting
glimpse of Murron, smiling back at him. We flash ahead to 1314. Robert, now
Scotland’s King, leads an army before the English on the fields of Bannockburn,
invoking Wallace's memory before decimating the stunned enemy and effectively
winning Scotland her freedom.

From beginning
to end, Braveheartis an exceptional
entertainment, its many virtues since endured the passage of these twenty-plus
years after its theatrical release. It is not a film replete with the sort of visualized
finesse one generally associates with the Hollywood epic. And yet, its storytelling
remains passionately authentic and exhilarating with every gallant victory and
painful loss endured, even personally felt from within. James Horner
contributes one of his finest orchestral scores to Braveheart (losing the Oscar to Luis Enrique Bacalov for Il Postino), imbued with a full-bodied
celebration of both the gallantry and intimacy in these shared lives
interrupted by the thought-numbing confluence of war.

For this newly
released 4K Blu-ray, Braveheart’s
original 35mm Panavision negative has been graded in HDR10 with Dolby Vision.
What this means for those fortunate enough to experience it in true 4K is every
minute detail in John Toll’s sumptuous cinematography is present and accounted
for with stunning clarity. This is a perfect visual presentation on every
level, gleaned from a properly archived original camera negative with every
consideration of the modern digital age paying its respect. Colors are exceptionally
nuanced, the captivating moodiness of those highland overcast skies, augmented
by flickering torches or the steely glint of swords crossed; the tartan plaids
in Charles Knode’s Oscar-nominated costuming, emerging with superb contrast to
reveal even the weave in fibers close up. There is virtually nothing to
complain about here. Braveheart in
4K is genuine to the theatrical experience. Having endured these many years in
absence of the real thing, viewing the movie once again in 4K was nothing short
of a revelation, perfectly matched by Paramount’s remastered Dolby Atmos mix.

For those still
on the fence about an upgrade to 4K, this release also includes the Sapphire
Series Blu-ray from 2009. Only Mel Gibson’s audio commentary has been
transposed to the 4K disc. But the second standard Blu-ray includes virtually
all of the extras from the previous release; hours of good stuff including, Battlefields
of the Scottish Rebellion, the hour long retrospective, Braveheart:
A Look Back, Smithfield:Medieval Killing Fields, Tales
of William Wallace, A Writer’s Journey and 2 theatrical trailers.
MIA from this release (and virtually every release in hi-def) is the original Alba
gu Brath! The Making of Braveheartdocumentary and Mel Gibson’s Braveheart: A
Filmmaker’s Passion featurette that included a photo montage and
archival interviews. I suspect, though am not entirely certain, these omissions
were likely the result of an inability to upconvert the older content to a true
HD signal, or perhaps, merely, Paramount’s way of acknowledging the time had
come for newer, arguably, ‘better’ content, produced exclusively for the
Sapphire release, and herein, reissued as their definitive investigation of the
movie. Paramount Home Video has been late in arriving to the 4K party. However,
there is little to deny they are fast becoming the leaders in this medium. For
this, we bid the good people on ‘the mountain’ very hearty thanks, and, the
humility of a request – more please! Bottom line: very highly recommended!

About Me

Nick Zegarac is a freelance writer/editor and graphics artist. He holds a Masters in Communications and an Honors B.A in Creative Lit from the University of Windsor.
He is currently a freelance writer and has been a contributing editor for Black Moss Press and is a featured contributor to online's The Subtle Tea. He's also has had two screenplays under consideration in Hollywood.
Last year he finished his first novel and is currently searching for an agent to represent him.
Contact Nick via email at movieman@sympatico.ca